Wilson Phillips debut expanded to 2CDs

Expanded double-disc version of the big-selling debut

Caroline International will issue a two-CD deluxe edition of Wilson Phillips’ 1990 debut later this month.
The band consists of Carnie Wilson, Wendy Wilson, and Chynna Phillips, the daughters, of Brian Wilson of The Beach Boys and of John and Michelle Phillips of The Mamas & the Papas and this album sold over 10 million copies worldwide and delivered three number one singles in America (Hold On, Release Me and You’re In Love).

This new expanded deluxe edition sees the album remastered by Andy Pearce and features a previously unreleased version of Hold On (the Accapella). The bonus disc contains rare radio edits, live tracks and foreign language versions. The booklet features a new interview with the band by Paul Lester.

love this debut . the second was good too . this re-issue has nothing interesting . if only they did one non track on every single , even a cover and i’d get it. extra pictures of saucy Wendy in lingerie would sell.

★ Next To You (Someday I’ll Be)
On the CD single I own, no track time is given and there’s no mention of it actually being a Remix or a Single Edit – though it is indeed very different from the album mix. Having just played the CD single, it’s 4:31. The 7″ gives no track times and the Cassette single lists it as being 3:41, but I don’t own either of those two releases.

I transferred all of my music to iTunes (Apple Lossless) some years ago, so it’s a mystery why the track time in my iTunes library has the remix running 6 seconds longer than the CD single. I can’t remember why I decided it should be subtitled a ‘Remix’ rather than a ‘Single Edit’ – have you ever seen it referred to in print as either of those?

★ Impulsive
I have the promo CDs boxed up in a cupboard, so I ought to get them out and make another comparison. The track times you listed above aren’t the same as I have on my iTunes. So, I’ve found the Promo CD on Discogs ( https://www.discogs.com/Wilson-Phillips-Impulsive/release/2194810 ) and these match what’s in my iTunes. The fade-outs are quite abrupt.

★ 2016 Reissue
A re-release of this album has been at the top of my wishlist for years. I appreciate that many artists choose not to release demos/outtakes, but I’m disappointed that previously released material has been neglected, for which there was sufficient room on the CDs:

Next To You (Someday I’ll Be) (Remix)
The Dream Is Still Alive (AC Remix)
A Conversation with Wilson Phillips
Release Me (Live in Japan)

What we’ve ended up with is a randomly sequenced track list of bonus material: the single versions aren’t in the order they were originally released and the Spanish/Spanglish versions haven’t been grouped together with much thought. It’s like listening to the tracks on shuffle.

At some point I’ll sit down and compare each 2016 remastered track with the original CDs. I’m hoping for the best, but I’ve already noticed that Otro Amor has a glitch from 1:46 – 1:48 and it appears intermittently thereafter. The remaster of Hold On (Live in Japan) places the vocals very deep in the mix.

Every cloud has a silver lining: The newly mixed A Cappella version of Hold On is fabulous! I’ve listened to it a few times and found that it’s an almost identical arrangement to the one used on the familiar album/single release, but during the third (drumbeat) chorus, Carnie sings an extra “Say goodbye” which I first noticed in the Bridesmaids movie. Incidentally, I spent 10 minutes trying to synch the A Cappella version with the 2016 remaster of the album track (it’s easier to sing along with a faint drum beat!) but they wouldn’t match up. It’s as though the A Cappella mix is missing a few beats here and there.

Sorry for my late reply. I spent almost a day to listen to my copy of this 2CD set & turned my room upside down to find my 2 CDR’s. Back then when I decided to do the Wilson Phillips compilation CDR’s myself. I ripped all available tracks to my computer listened to all the version of the same title back to back to define what what is. Next to you was shorter than the album version & released on single (b-side)! So to indicate it is different than the album version i called it single edit. But I just listened to them. You are right: they are 2 different mixes. Perhaps I’ll call it the Single Remix from now on. Still have to find the 3:43 version.

Impulsive all 4 versions from the promo CD as mentioned before. Listened to them the early fade out of the edits aren’t abrupt. Album version=US album mix & AOR mix=international album mix.

I agree with you they should have put all those single edits at the end of the album & perhaps the added the Next to you remix/single edit & The dream is still alive AC remix. But I also would like to they include more unreleased A Cappella for all the singles. And leaving more space on cd2 for the missing tracks. I listened to Hold on a cappella. I loved it. Tried to sync it with the album version. To my ears they matched exactly, except, you are right again, @2:37 “Say Goodbye” doesn’t really exist in the single/album versions. Perhaps this was the original album version a cappella. But the finally album mix they decided to edit it out or made softer than the repeating/echoing backing there.

I didn’t noticed the 1:46~1:48 glitch you mentioned. But I also noticed the 2 Otra Amor were probably from vinyl. From the beginning lots of unclear sissing sounds like it was denoised/declicked (kind of it almost over its limitation) & lots of hiss at the end. I found my CDR’s & compared to those. My 2 Otra Amor are crisp sounding, super clear. Now I also suspect the 2 Mi Sueño Vive Aun might also be from vinyl (I’m unsure about these 2 though)!

@Chris W., thank you for your info’s! kiefer2 asked: “On Discogs it also mentions a 3:43 edit of Next To You (Someday I’ll Be) on the US cd single of “The Dream is Still Alive.” Do you know anything about this edit?

Also found info’s on top40musiconcd.com about these 4 edits/versions/mixes on the US promo CD:
Impulsive [Album Edit] 3:59 = US Album Mix, early fade out
Impulsive [Album Version] 4:32 = US Album Mix
Impulsive [Single Remix] 3:54 = International Album Mix, early fade out
Impulsive [AOR Mix=Adult Oriented Rock Mix] 4:28 = International Album Mix

I listened to the 30secs~1min preview of Hold On a cappella. It did sound like the original studio version. So it was from that period and not live nor later performed a cappella. And
I ordered it right away.

…A quick amendment to my earlier post. Having played a couple of tracks from the 2016 reissue, it uses the US Album Version of Impulsive (I thought the international CD had superseded the US one). As for the mix of Impulsive used on the internationally released CD, this could in fact be exactly the same as the AOR Mix – They’re the same length and both feature guitar intros/outros. I forget why I thought these mixes were different; it was a few years ago that I compared the various mixes on the original CD singles/promos.

“Next To You (Someday I’ll Be) (Remix)” is a more lavishly produced version of the album track and brings out more of the ‘tribal’ instrumentation alongside a few extra vocals. It cuts some of the synthesized outro, but I prefer it to the one on the LP.

My copy of the reissue has just arrived, so I’ll be taking a look at it over the weekend. I’ve put CD1 into my Mac and noticed that “Hold On (A Cappella)” automatically lists itself as “Daniel *Bonus Track”. Perhaps this was their original intention – but it would have left any eventual reissue of the group’s second LP rather thin in respect of bonus tracks (I believe there are only 1o previously released tracks suitable for inclusion, 7 of which are remixes/edits of ‘Give It Up’).

The bonus contents are not super exciting but good to have none the less. I have the original album but no CD Singles, as I normally only collect remixes, so I will get to have all the bonus stuff in one place.

There will always be people who feel the need to comment the artist is crap or it’s rubbish. I don’t comment on stuff I have no interest in, as I know just posting a derisive comment about something that I don’t care about, would only be to upset those who do care. We are all entitled to our opinions but I am not arrogant enough to feel the need to express mine about something I couldn’t care less about.

* Previously unreleased
** Previously released but not included on 2016 reissue

My track listing still leaves room for 8 or 9 extra tracks across the CDs (as both ‘Conversations’ are so short).

The “Conversation With … Producer Glen Ballard” (included on the 2016 reissue) features a short clip of a Release Me demo, so it’s disappointing that this and other demos haven’t been included in full. An A Capella mix of Release Me would also be a welcome addition – all three group members sing in harmony throughout and there are fewer instrumental breaks than in Hold On, which could provide a more enjoyable listening experience. Leaving the ‘Live in Japan’ version of Release Me off the reissue seems lazy (and it’s arguably better qualified for inclusion than Hotel California).

Two alternate mixes of Hold On appeared in the movie Bridesmaids (one on the DVD, another in a bonus feature on the Blu-ray) and although they used only the original instrumentation and vocals, they were likely created specifically for the movie and therefore may be unsuitable for this release. I’m mystified as to why they haven’t added an instrumental version of Hold On to counteract the numerous unofficial recordings littering iTunes.

I understand that record labels work within certain constraints and limitations, but I feel that this reissue could easily have been elevated from being a one-trick-pony (the previously unreleased A Cappella mix of Hold On) into something befitting a hit-filled album which enjoyed tremendous success upon its original release.

I was a big fan & got most of them already. The only thing new to me is the Hold On-A Cappella. I just hope this one is from the “same period” and not just some “live” accapella or from another/later period. But I’ll wait till the price-drop to get this only one new track. I see that I have even more tracks than they have included here :P

About the comment(s) on something you don’t like or even hate. I only come here to look for something new that I like or interested in. Mostly I’ll post some comments. For the ones I’m not interested in or do not like I will leave them as they are.

About the single version/edit/remix. Album versions or some popular extended versions are easily obtainable. Most single version/edit/remix are still trapped on the vinyl. And compilations keep using the album versions. So the people who like to get the radio versions (for example top40musiconcd.com) would like to finally get them with an expanded issues like these. Or if they are a remix edit or the extended then the remixes completists would like to get them as well. For example Kim Wilde – You Came Shep Pettibone 7″ Version.

@Francis, thank you for the Jermaine Stewart headsup. I’m really happy about that one :D

The Dream Is Still Alive [Album Version] 4:08
The Dream Is Still Alive [Radio Edit] 4:08
The Dream Is Still Alive [Spanglish Radio Edit-Mi Sueno Vive Aun] 4:09
The Dream Is Still Alive [Spanish Radio Edit-Mi Sueno Vive Aun] 4:09
The Dream Is Still Alive [AC Remix=Adult Contemporary Remix] 4:09

Next To You (Someday I’ll Be) [Single Edit] 4:31
Next To You (Someday I’ll Be) [Album Version] 4:56

@kiefer2, i don’t remember much about the 2 cd compilations i did many years ago. I strongly believe that one is an early fade out (to keep the cd single’s duration under the 20mins which Cherry Red/Pop mentioned on the Yazz posts (that cd single is about 20:22)! Perhaps Chris W. can give us more info’s.

Bought this first time around simply because of their heritage and was not in the slightest disappointed. Will be getting this version as I missed many of the singles, including the Spanish versions. I don’t speak Spanish, but expect to enjoy these versions which are new to me.

Re the “Dreadful” comment, what and why?

To use an example of something I would not buy, the Sam Fox re-issues. I’m not a fan of her music, but I appreciate the care, research and work that went in to them, it really is the way to do it.

Some single versions are slightly remixed and some are edited to be shorter or have early fades. But really these are the versions that were heard on the radio which is why the are appealing to me. And sometimes the album versions are just too long…

So, what is the appeal of single mixes and radio edits? As previously stated, sometimes the single mixes are new mixes that make a song better (sometimes not), the mixes that received the radio airplay. Radio edits are often the versions that I grew up hearing on the radio. So, yes, it is nice having these edits and single mixes on reissues for this reason. Many times I’ve purchased albums only to find that they are missing the versions that I heard on the radio. It’s the same for 12″/extended mixes. They appeal to some people because some people enjoy long versions of their favorite songs (myself included). Thankfully, for those concerned about having radio edits and single mixes, that’s what the “skip” button is for on your CD player.

It’s a difficult line for these reissue labels to walk, because some people want the single edits; some people think they are pointless. Some people want the 12″ mixes; some people hate them. Some people want demos; others can’t stand them. Some people want live tracks; other people think they’re filler. If you look at almost every posting on here, you’ll find the same types of complaints–“I don’t want edits/remixes/live tracks demos because I want more room for edits/remixes/live tracks/demos.” The labels work with what they have and do their best to please the fanbase, but short of allowing for custom made projects where each fan picks out their track listing for their personal copy, there will always be something someone thinks shouldn’t be on there or a track they “need” to skip.

I prefer they just give me everything and let me sort through it myself, then I don’t find myself wishing something as there that isn’t. As far as not wanting a CD where I “have to” skip a track, that’s not overly reasonable. Most of the time, there’s at least a few tracks on the original album that I push the skip button.

CORRECTED COMMENT: I have always thought the same with regard single versions being added to releases considering they are usually just shorter versions of the album tracks or just slightly different that it hardly notices and yet people seem to get all ate up about it. I would rather have b-sides, mixes, extended versions, live recordings or demos added than a bunch of pointless single versions but it seems others like them and get annoyed if they are not included.

What a pleasant surprise! :-) I think I will get this. But I must agree with one of the questions above: what exactly is the appeal of the single versions? Aren’t they just the album versions with stuff cut out or early fades? Or are they bona fide remixes?

I couldn’t agree more, non-constructive criticisms and ill-considered comments are out of place here (as they are just about every place else in life). And while I have no interest in Wilson-Phillips, it’s just the sort of thing I enjoy seeing here: a loving, detailed, and hyberbole free description of a cool release from a totally naff artist. It’s part of the charm of Super Deluxe Edition, and I’m reminded every time I read a post like this that Paul will be the first to let me know when a new release is coming from my favorite totally naff artists (and the Lester Bangs approved ones, too!). Thanks Paul.

I’ve been wanting the Impulsive edit for years! I wish they could fit Daniel on there somewhere, like on the 1st disc? It’s such a beautiful cover of the Elton John song. Bring on a re-release of their second album also! :)

hopefully Daniel and Hotel California will be on a 2cd of ‘Shadows and light as they were on the cd singles for You won’t see me cry/Give It Up. would be great to have them all in one place. it’s a shame the 2nd album didn’t sell as much as the first, as I thought it was even better. great great production. ‘all the way from new york’ still blows me away.

I love WP debut album. Still listening to the songs after so many years. I can sing along to all the songs and will always remember the times when I went for a school trip, we played the cassette in the bus. Can’t wait!

Billy Dojcak = agreed. not my bag but hey, to each their own.
gb = it’s the internet and you will find opinions that differ from your own. everyone is entitled to form one even if they’re wrong. god forbid you should ever read YouTube comments.

no idea why people feel the need to leave a comment such as this. Paul did NOT ask for peoples
opinions on WP. there are lots of releases Paul mentions on here that have no interest to me/artists I don’t like … yet I’ve NEVER felt the need to *have to tell the world my opinion* on them.

I think there is a basic assumption that if you leave a comment – positive or negative – it comes first and foremost from an interest in the band/artist. So “I love Wilson Phillips but this deluxe doesn’t work for me because of reason X” is what you might expect. But honestly, what is the point of just saying ‘this band is shit’ or ‘I hate this album’ or some equivalent. It literally adds nothing, and unlike saying ‘I love this album’ such comments are designed to belittle people who DO like the artist. So to answer your question… that’s why one is okay and one is not. As has been pointed out on this forum MANY times before, if you don’t like an artist, why are you wasting your time even making a comment? I don’t watch TV programmes I don’t like, I don’t watch films I don’t like, I don’t listen to music I don’t like… but yes, I’ll post about something I don’t like on a forum where I”m aware that other people posting will probably like it.

How is someone saying “I hate this band” any different, qualitatively, than someone saying “I love this band”? Maybe someone reading this (or any post) has never heard anything by the artist in question, and they see 20 comments filled with nothing but praise. Maybe a little balance here and there is a good thing to have sometimes?

And actually, especially in the case of the comment in question here, I did not see any “belittling” going on. I saw a one word comment, which apparently described the way that poster feels about them. So any belittling there is clearly being manufactured from the other side. Or to put it another way – just as gb doesn’t seem to understand the need for the comment, I don’t understand the need for gb (or anybody else) to get upset about it. Read it, take what you want/need from it, and onward. (Which also need not “ruin” anything for anybody, to the chap a few spots below.)

my point was that more and more lately there are comments here like the one word ‘dreadful’ one. it does not add anything to the point of the post. and I would never JUST leave a post saying ‘I love this band’/’great band’ because do any other visitors here really want to know that? … therefore if I didn’t like a band I would also never leave a comment saying RUBBISH BAND. I would just go on with my day. my comments are always related to the re-issue/track listings.

I don’t think one word comments add an “balance” to the conversation. Saying, “I never understood the appeal of this band–their songs seemed too treacly,” or “I was always amazed by the harmonies of this band” are substantive comments that may help inform someone who isn’t familiar with the music. “Dreadful” is not helpful, and is basically just someone being a dick, and taking the time to click on a link for something they obviously aren’t interested, then scrolling down the page and posting the comment, so it means they go out of their way to make sure that people are ware of their pointless, unspecified displeasure. That’s the part that makes it annoying–that someone feels the need to put the extra effort into making a prickish comment.

As far as whether any of these comments should be aimed at helping people unfamiliar with the music to make decisions–with the number of streaming and other online resources out there that offer the chance to sample the music, anyone being led astray by an overabundance of excitement from people who are fans of the work is simply being lazy.

@FYO PIX, most of these deluxe editions never receive official U.S. or Canadian release. Maybe this one will since it’s a Caroline release (and not Cherry Red, Demon, etc.), but I typically order all of these sets via Amazon UK.

great news. loved this band. the spanglish version of ‘dream is still alive is brilliant (bought
the cd single at the time) hope the 2nd abum gets the 2 cd treatment and Hotel california/Daniel
covers are on it.

while I’m here. Happy Birthday Paul, I know from last year yours is around the same time as mine.

Pretty unexpected, and very much looking forward to this! Includes the radio edits, which is really what I’m after here, besides the remastered album. (Figured I’d get in before the complainers do, since I’ve seen comments elsewhere.)

I only know Wilson Phillips because of their cover of “Daniel”, which I LOVE! So I think this would be an opportunity for me to discover their first and most succesfull album for a very reasonnable price.

But I don’t understand the appeal of edited and faded versions… For me they are just shorter versions of a song… You write you’re after the radio edits, can you explain to me what you find interesting in them?